Dawn Upshaw sings expertly with piano and percussion

Soprano Dawn Upshaw showed her flexibility on works by George Crumb and Caroline Shaw.

Soprano Dawn Upshaw showed her flexibility on works by George Crumb and Caroline Shaw.

Photo: Brooke Irish

Photo: Brooke Irish

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Soprano Dawn Upshaw showed her flexibility on works by George Crumb and Caroline Shaw.

Soprano Dawn Upshaw showed her flexibility on works by George Crumb and Caroline Shaw.

Photo: Brooke Irish

Dawn Upshaw sings expertly with piano and percussion

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Musical works scored for voice, piano and percussion quartet aren’t exactly a plentiful commodity in the repertoire. So what are the odds of two such works showing up on a single concert program?

Not as long as you might expect, to judge from Thursday night’s freewheeling, emotionally urgent event in Herbst Theatre. Soprano Dawn Upshaw, pianist Gilbert Kalish and the enterprising quartet So Percussion teamed up under the auspices of San Francisco Performances to do a pair of song cycles that worked along similar lines — not only as far as instrumentation was concerned, but in terms of material and emotional resonance as well.

That wasn’t really a coincidence, of course. “The Winds of Destiny,” the fourth installment in George Crumb’s ongoing multipart project called “American Songbook,” set the terms for the meeting, and it was easy to tell — even without reading the program notes — that Caroline Shaw’s “Narrow Sea,” which had its second performance and West Coast premiere, was written as a companion piece for it.

Both composers take their texts from the American folk tradition. Crumb’s 45-minute cycle harks back to the Civil War, with settings of “When Johnny Comes Marching Home,” “Go Tell It on the Mountain,” “Shenandoah” and others. Shaw draws on the shape-note hymns from the collection “The Sacred Harp,” of which “Wayfaring Stranger” is probably the best known.

Yet for all the surface similarities between the two works, each composer mines a distinctively personal expressive landscape, and the performances — stark, assured, often directly communicative — made those differences clear.

Crumb’s cycle, which occupied the second half of the program, is a confrontational, highly charged work, in which the bleeding wounds of war lurk just below the surface. A staged version by director Peter Sellars, which Upshaw performed in 2011 as part of the Ojai Festival, pulled these themes into plain view, with undramatic effect.

But in concert, Crumb’s creative strategy proved more cunning and persuasive. He tends to stick closely to the original melodies, but grafts onto them instrumental accompaniments that are by turns atomized, allusive or texturally surprising. “When Johnny Comes Marching Home” is practically a musical ghost story (and there’s a snippet of Mahler’s First Symphony to tie it in with other traditions); “Go Tell It on the Mountain” gets a vibrant, chiming overlay.

Shaw’s writing, by contrast, is tenderly sympathetic almost to a fault. The texts she chooses are those of homecoming and nostalgia, and she fits them with melodies that have the straightforward sentiment of a finely tuned lullaby. Even the percussion effects — strumming the strings of the piano, pouring water audibly from one bowl into another — register as a sonic caress.

Upshaw’s singing was nimbly tailored to these different worlds, bringing fluidity and grace to Shaw’s music and an explosive vitality to Crumb’s. Kalish and the members of So Percussion — Eric Cha-Beach, Josh Quillen, Adam Sliwinski and Jason Treuting — matched her step for step, in performances of expertly shaped commitment.

As an appetizer, the quartet took the stage for “Music for Wood and Strings,” a blooming, expansive piece of minimalist counterpoint by Bryce Dessner in a Steve Reich vein. The music stopped abruptly after 12 minutes, just as some of its most interesting ideas were starting to take shape, so it was a relief to learn that this was an excerpt from a larger piece.